Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Croatia and from Cairo.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1968 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Beijing.
I'm losing my edge to the art-school Stockholm kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Delon & Dalcan to the punk kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Circle Jerks. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every John Foxx record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your sitar and bought a guitar.
I hear that you and your band have sold your guitar and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
Index,
Q65,
Avey Tare,
Half Japanese,
The Alarm Clocks,
Ossler,
Skarface,
Banda Bassotti,
Sly & The Family Stone,
The Beau Brummels,
Byron Stingily,
Joe Smooth,
Rahsaan Roland Kirk,
Radiopuhelimet,
Marc Romboy vs. Booka Shade,
Theoretical Girls,
Lonnie Liston Smith,
Harpers Bizarre,
Sarah Menescal,
Interpol,
Erykah Badu,
Lightning Bolt,
Eve St. Jones,
Oppenheimer Analysis,
Bill Wells,
Wally Richardson,
The Fire Engines,
Mars,
Can,
Ralphi Rosario,
Los Fastidios,
Masters at Work,
Echospace,
Jandek,
Sonny Sharrock,
Joey Negro,
Main Source,
Louis and Bebe Barron,
Jimmy McGriff,
Fifty Foot Hose,
MDC,
Dual Sessions,
The Jesus and Mary Chain,
Whodini,
The Motions,
The Cramps,
Tom Boy,
Animal Collective,
Hoover,
Isaac Hayes,
Heaven 17,
Television Personalities,
Electric Light Orchestra,
John Foxx,
Marmalade,
Barclay James Harvest,
Aural Exciters,
Sister Nancy,
The Five Americans,
Franke,
Robert Görl,
Deepchord, Deepchord, Deepchord, Deepchord.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.